Medium Specific Uncanny in Contemporary Video Games

The academic discourse on the uncanny in video games usually focuses on the phenomenon of the so-called “uncanny valley” (Mori 2012). The article explores the emergence of other, medium-specific occurrences of the effect, prioritizing interactivity as a key factor in its establishment. Two unique ar...

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Main Author: Csönge Tamás
Format: Article
Language:English
Published: Sciendo 2023-11-01
Series:Acta Universitatis Sapientiae: Film and Media Studies
Subjects:
Online Access:https://doi.org/10.2478/ausfm-2023-0020
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author Csönge Tamás
author_facet Csönge Tamás
author_sort Csönge Tamás
collection DOAJ
description The academic discourse on the uncanny in video games usually focuses on the phenomenon of the so-called “uncanny valley” (Mori 2012). The article explores the emergence of other, medium-specific occurrences of the effect, prioritizing interactivity as a key factor in its establishment. Two unique areas are particularly prominent in the increasingly photorealistic worlds of video games where uncanny moments associated with the wider, Freudian concept can be found. These are linked to necessary (structuring) and contingent (destructuring) components of the game: namely its heterogeneous ontology and the glitches that may appear in it. The author hypothesizes that these less conceptualized uncanny situations are regular features of the gaming experience and emerge when the immersion in an iconically realistic environment has been broken and eerie absences or ghostly presences pop up either through encounters with the game’s boundaries that result from the technological limitations of the software or the appearance of unintended errors in its processes.
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spelling doaj.art-85aecc4f851942bea790987cdeca3f552023-12-11T07:37:13ZengSciendoActa Universitatis Sapientiae: Film and Media Studies2066-77792023-11-0124118520210.2478/ausfm-2023-0020Medium Specific Uncanny in Contemporary Video GamesCsönge Tamás01University of Pécs (Hungary)The academic discourse on the uncanny in video games usually focuses on the phenomenon of the so-called “uncanny valley” (Mori 2012). The article explores the emergence of other, medium-specific occurrences of the effect, prioritizing interactivity as a key factor in its establishment. Two unique areas are particularly prominent in the increasingly photorealistic worlds of video games where uncanny moments associated with the wider, Freudian concept can be found. These are linked to necessary (structuring) and contingent (destructuring) components of the game: namely its heterogeneous ontology and the glitches that may appear in it. The author hypothesizes that these less conceptualized uncanny situations are regular features of the gaming experience and emerge when the immersion in an iconically realistic environment has been broken and eerie absences or ghostly presences pop up either through encounters with the game’s boundaries that result from the technological limitations of the software or the appearance of unintended errors in its processes.https://doi.org/10.2478/ausfm-2023-0020video gamessimulationreality-effectuncannyglitchbug
spellingShingle Csönge Tamás
Medium Specific Uncanny in Contemporary Video Games
Acta Universitatis Sapientiae: Film and Media Studies
video games
simulation
reality-effect
uncanny
glitch
bug
title Medium Specific Uncanny in Contemporary Video Games
title_full Medium Specific Uncanny in Contemporary Video Games
title_fullStr Medium Specific Uncanny in Contemporary Video Games
title_full_unstemmed Medium Specific Uncanny in Contemporary Video Games
title_short Medium Specific Uncanny in Contemporary Video Games
title_sort medium specific uncanny in contemporary video games
topic video games
simulation
reality-effect
uncanny
glitch
bug
url https://doi.org/10.2478/ausfm-2023-0020
work_keys_str_mv AT csongetamas mediumspecificuncannyincontemporaryvideogames